Easy Loose Watercolor Painting of Fruits and Vegetables - 2nd Class | Dawna Mae | Skillshare

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Easy Loose Watercolor Painting of Fruits and Vegetables - 2nd Class

teacher avatar Dawna Mae, Artist and Certified ESL Teacher

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (48m)
    • 1. Introduction

      1:33
    • 2. materials

      0:17
    • 3. sketching

      4:07
    • 4. carrot

      3:55
    • 5. apple

      6:17
    • 6. kale

      2:07
    • 7. olives

      9:25
    • 8. Pomegranate

      7:53
    • 9. tomato

      6:56
    • 10. Final touches of your project

      5:14
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101

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1

Project

About This Class

Learn how to sketch and paint fruits and vegetables in loose watercolor and create wall hangings to decorate your kitchen.

Have you ever wondered how to wonderful loose watercolor paintings were done? Have you ever wished to create them one day? Well, no more waiting. Don't let loose style intimidate you and start learning how to do it today.Ā 

Bonjour! Hello! I'm Dawna, I'm a French-Filipino watercolorist, illustrator, and teacher currently residing in Spain. Cityscapes, landscapes, portrait, and still-life are my favorite subjects to paint.

This class is suitable for all skill levels, beginners will learn and be familiarized with wet-on-dry, dry-on-wet, lifting, and water control. Experienced ones will have great time to loosen up their watercolors.

You will be very happy to see your paintings on your kitchen wall. This project will make you not only make you feel good but also will serve as a reminder of eating healthy food everyday!

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Kitchen Wall Decor

Meet Your Teacher

Teacher Profile Image

Dawna Mae

Artist and Certified ESL Teacher

Teacher

 

Bonjour! I'm Dawna, I'm self-taught watercolorist/illustrator and certified ESL teacher. A French-Filipino who has been travelling the world for the last 4 years and painting the most beautiful landscapes that leaves mark in my heart!

 

 

WHAT I DO

I take inspiration from all my travels (Asia and Europe) photos and keep them alive through my arts. I love painting landscapes and portraits. I think every country has in own beauty worthy to be painted. Having seen a lot during this travels including the pollution and all other environmental problems that the world is facing right now, it is my humble wish to show all these beauty through my paintings, and hopefully will make people realized how lucky we are and why we should all take our ... See full profile

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Transcripts

1. Introduction: Would you like to paint these amazing fruits and vegetables in lieu style, where common? Jamie. Hello. I'm Donna. I'm a friends Filipino watercolor is illustrator and teacher. I've created paintings for private collections and also teach in Spain. In this class. First you will learn how to sketch. Then paying six fruits and vegetables in Lewis style and create an amazing kitchen wall Decker project that you can be proud of. You will better understand, use, and choose the right painting materials. You will learn different watercolor technique such as Western wet, wet and dry, lifting and water control. And most importantly, you will have more confident with loose watercolor technique. Upgraded this glass to suit all levels. While beginners who learned the techniques, the more experienced ones will enjoy getting loose with their paintings. You will be very happy to see your beautiful painting project on your kitchen wall. I am very excited for this new force. And of course, having you in my glass, I can for you to see your own paintings in those style when you uploaded. So let's get started and I'll see you in my glass. 2. materials: These are the materials that we'll be using for our classes. Precious number ten or 11, glass of water, tissue paper, water sprayed, small watercolor paper. I'll be mentioning the specific watercolor paints just before our classes. 3. sketching: Hello everyone know timing, sketching times. So let's have some fun. First through gonna be sketching carrot. And she can see and sketching it really likely to damage our watercolor paper. They say God is good for efficient and high in antioxidants. And I'm just going to be adding some details. Next, Bobby sketching Apple. Okay, so here we do our best to make the lines and the shape more, more accurate as possible. And not an expert. But they all is good with oxidant soils and fiber. I've just completed from books. As I said, another expert is just from experience and recruiting. Now here we are going to be adding a leaf. And don't worry if you make some mistakes were organic hybrid output, our watercolor paints. Go Apple. Next locality, sketchy. Tally. So Kali is a special vegetable for me. I never eat that much. But they say it's good source for a k and this is, so it's good for your heart and diabetes. Next is olives. So we are in Spain and we have only everywhere. And I really enjoy it with my family. But as you can see, I prefer the sketch and erased it. I realized I wasn't filming it, so I had to do to get or going to be adding some leaves, small branches to make it look natural. So try to sketch it as light as possible. As I've said, colored paper is very sensitive. So they say olives is i is vitamin a and there are also good for the heart. It may kitchenette. I've put all these fruits and vegetables. Swiffer, remind us what to eat in our daily routine. Ok, now there you go. We have the formerly colonized or former grenades. But if friends with say, a ptarmigan items, I really like these fruits of this roots. I love that color. I love the taste. The slave form guide is high in antioxidants that spin good cancer prevention. Ok, so as you can see, I'm adding some leaps. I'm trying to make our shape and lines as accurate as possible. Okay, so the gold Next we're going to be sketching tomato. So as everyone knows, tomato is a good source for antioxidant Nick fit. So tomato is good for your heart, the brain health. K. So a day ago, everybody, thank you very much, Martin, sketching. Now get ready. We're going to leave fainting. All of this is going to be amazing. 4. carrot: Hello, local and rules. We're gonna be starting with the painting. We're going to use for an admirable CNR, permanent green. I worried, I'm yellow up. So I started nadar on Amber and buoyancy and air dried and semi-annual or hot mix those colors to get the Cara, the color of a carrot. And auto mobiles to leave some light. The light is on the left side. So a darker tones should be on the right side. Will be more Born Amber and more pigment. So I'm using a map brush. So it's gonna score shot because it's noting more water than it should be in a normal direction that if you're using a normal brush, nature divides gear. I reusing permitted grid. And in the middle, the darker side that is support Amber and a little bit of ivory. Nor. So we really have enough water so that the water, the water colors spread on its own. Here I'm trying to do some live thing with that. Every black and border birth. And as you can see, if we have, if we're using the map brush enough water. I mean, water is gonna raise the watercolor, but too much water is going to spread everywhere. So I'm just trying to live it and spread the color even late. So the secret in here is you have to add more pigment and less water. I'm trying to follow the shapes and the lines of our watercolor. Trying to leave some whites, foreign light effects. Here I went back to Fort Amber and I worried are just a little bit I worried you are. So I felt that I put too much black in here. So I'm just I'm trying to live and spread it together to just leave you just leave the color spread as you think as needed. If not, you have to do some lifting. So here I'm using just enough water to spread the colors and the piglet. I'm adding a few details on our carrot. Either very light touch to make that horizontal line. Let's follow and observe. So here I went back and adding more highlights on the leaves with I worry NWA and born Amber. So there is really enough water on the leaves for the water to flow freely. Here I'm doing some listening effective case, so brash, and then am trying it a little bit with our tissue paper. Sake, those excess water. Almost there. You're amazing. Just let it dry for our final touch. 5. apple: So hello again, probing a painting are apple, we're gonna be using Scala. It read permanent grant, more number Chinese white, yellow 4K and ivory enlarge K. So let's start. So this is wet and dry and spreading Scarlett read everywhere, leaving some whites for light effects. That's on the left side museum less pigment here, go darker and darker later on. So I'm still using the same brush. Hey, so I'm trying to follow the shapes and the lights as much as possible. So let's go on Docker RTOS am using bore number in here. So I'm going to add more values to null values on our painting and more pigment. So as you can see, I just left a watercolor offloads on his own thrilling to get that loss, that loss effect. Though. I'm trying to hire the shapes and the lines. So a new thing in that pigment and enough water on this process. So as I said, you have to just makes toward the watercolour paint very well. Here I'm trying to follow the shapes and the lines of our Apple. And you're seeing more and more water and less pigment on the left side as this is our decide how far light. So I'm going to start again, a way that leaves that these permanent green. No worry if colours mix a little bit, this is less paintings, so just let it free. As long as the shape of fair. It's fine. So this is where Tourette's and just adding a Roman Berger toes. And some contrast here with our minute amusing born amber in year number when market segment. Hagar, I'm trying to imagine the lines are Ben apple. So they're born Amber. So I am adding shadows and few details. K suggest far and observe. Whatever color is not that the CSMA grown, but I think with more practice every day or generally is going to improve it. As you can see, we now have that shadow effect is gonna go down. There you go, say just spread a color down there in a horizontal manner. So we mix board Amber and it'll go ivory Blackboard, darker values. So we imagine that the shadow is on the right side and the light is on the left side. Sam here, I'm adding a little bit of detail on our lives in saying Amber. Enricher pigment, adding more highlights and details, and trying to leave some sunlight. You can go as dark possible, rich pig blood as possible. If you feel it's necessary. And you just let the water flow or the sound. As you can see, you don't have to pay every where you just, you just imagine aria apple, how it will look like with a light. So here orange pigment, less water on the brush. And I'm doing some really light touch. And here I'm trying to follow the lines and the shape of an apple. So here I am trying to define the shapes. It's not easy because it's still wet. So I had to do some lifting. So you feel like this too much water going on. You can do some live thing. No worry if, if the shapes overlaps VCs, watercolor, I use technique painting, so just let it decelerates flow. I think as slow as the major shape is there. I think it's, that's it. So do not hesitate to add more colors if you feel it's necessary. 6. kale: Hello. So now we will be painting our colleagues. We will be using borne Amber, permanent green, bright violet through we'll do ivory, black and yellow or I am already sprayed once liquid water to have that loss effect. And I'm using the tip of my brush, brush number to get that lose color, texture. So I'm going to add more pigment, touch. And as you can see, we're trolling the brush to have that mix colors. Now, I've added permanent Green onto our bright violet, and I just allow the colors mix together. This is less painting. Now or getting darker and just continue brush. The brushstrokes than wide, narrow, there'll be adding more pigments. See now, there you go. Adding more details and try not to move your paper. Now we are using borne Amber and a little bit of yellow or I've also added very slight Boreal group and mix these colors together. I just follow the shapes that we had before and keep thrilling. Now will have to let it dry. And then go on with our final touch. 7. olives: Okay, now so we'll be painting are Ali's, we'll be needing born Amber, permanent green or blue and bright violet will be using the same brush number and light pigment. Royal blue and bright violet. Mixing the two colors together. And we will alternate light and dark permanent together. So I'm doing this so that we will have enough water on our paintings to make sure that it's not dry and you have that loose effect. So I'm being careful to follow the shapes of our olives and using a very light dots with enough pigment and enough water. So painting lies still wet to get that Los defect. As I've said. There you go. So as you can see, MC branch is very special because it knows a lot of water and it can hold lots of water as well. So if you're using nevermore branch, it should be fine. Try our best to leave that white and the paper do have this light effect that you will appreciate later on. So more pigment and enough water. Now, there you go. Don't worry if the water color is spreading. It's fine as long as we retain the shapes of our olives. More pigments for darker tones, and our values to just observe and follow. So now we're working on this. I will be mixing colors. Our permanent green and then born. So permanent green bara leaves and stink. So inept pigment in our water. And I'm trying to leave some whites on our painting. There you go. I am using only the tip of my brush as this kinda brush can hold lots of pigment and water. Try to leave whites on a painting. I'm spreading the colors and just let it flow naturally. So this one, I'm going to leave it light for some contrast. There you go. If you feel that you have too much water on your brush, you can go and show your paper and you dry it up. And then your tissue paper to dry it up. Now are spreading colors, call amusing enough, and less pigment. So here I'm trying to spread our permanent green everywhere, but leaving some whites for our loose effect. Ok, so don't worry if the colors will spread, just let it just delay flow as long as you have the major shapes of our olives. So if you want, you can use shallow org to warm our painting and just a little bit, but this is optional. Here I'm using yellow or to get that warmer tones K. So there you go, almost finish. So now we're going to have darker tones, so we're going to be needing more pigment. Here. I'm reusing real Blue. And a little bit on sin. We're trying to add more details on our olives. You sing our brush with a very light Dutch. Our paper is still a bit wet. So I'm trying to retain the shapes of our olives and adding more darker tones. I am also doing my best to leave white on our paintings. So if you think that there are too much water and the water color is spreading, go ahead and do some lifting. So you just imagine the shadow, the lighter parts of your olives, and then you can add more darker values. So here I'm trying to retain the shapes to darker tones. So this has to have lots of pigment and less water. I feel at this one, it spreads a little bit to my show. I'm doing some lifting and MDS spreading their color and a little bit more. So here am doing light touch and more pigment. There you go. I know watercolor can be very challenging, but with practice and writer deterred anything, everything will be fine. And now I'm adding born Amber and permanent green. So admixed these two colors together to define some details for our lives. So more pigment and there are good don'ts. As it can see, I'm not putting it everywhere, I'm just defining some shapes and giving it more highlights and more contrast. Okay, so just continue to observe and follow. Now I'm, I did more pigment using our boy Amber, giving more highlights to the details of our olives. And I'm also added and there's a bit of ivory, nor are they a goal or almost there. I think we have done really well. Is adding more details. Suggest let it dry and then final touch, I think you were amazing sale. 8. Pomegranate : Okay, so now we're going to paints are permanganate. We're going to need Graham son rule, burnt umber, permanent green, scarlet, red eye, Bryn Mawr, and yellow arc. The North is optional just to have that color. So this is what John dry. We have less pigments are gonna mix yellow or, and a little bit of crimson who in light pigment. So the light is on the website and spreading the colors. And this led to watercolour flow on its own. K. So now more pigment, a preemption rule. We're going to spread their colors all over our drawing. So just observe and follow. They go. So I'm still using the same brush number. Amazing map. So as you notice already, it's holding more kalos and pigments than the normal brush K. So I'm trying to follow the lines and these lives and white on the left side, especially as this is the light side of our painting. Now I'm adding more pigment, darker TO this Crimson who? I just put just enough water. Not too much. I'm also trying to leave some whites for the light effects. I'm using the table, my brush, just a very light touch. And now here I'm trying to follow the lies and the shapes. Okay, so now here I've added Scarlett read just a little bit of scarlet thread. So I mixed up Chrome soon rule and Scarlett red. So we will be using more pigment. You can add as much pigment or color as much as shown here on getting Docker. So details for details and shadow you seeing are born Amber. So less water and more pigment for a darker tones. So the right side is a shadow, so it's darker. And the left side is the light. As I mentioned already. Here I'm tying to lead the way. And this is only possible APR, alot of pigment and you're using the tip of your brush. Here, again, I'm trying to leave some wise imagining how it will look like for the seeds of our pomegranates. So I'm just like making circular motions and throttling it. Notice the white of the paper that I left. This will serve as the light our painting. Now here I've got an amber again with enough pigment. So here is darker tones. So you really just imagine how the seeds would look like on a problem relate. Here, I've permanent green. And so as I've said before, don't worry if the color arm overlaps are mixed together. This is the loose painting, so it's okay as long and as we retain the major shapes of our painting. So just, just let it flow freely. Exam spreading willow for the shadow effect of our pomegranates. So don't worry if the colors are mixing again, just Dell is low. So just observe and follow. So more tonal values. Now, I might even darker tones. Here I'm using borne Amber and ivory in March. So just a little bit of Irene war. And also here, I'm trying to leave the whites as much as possible. Although that's not very easy with our loose technique, but it's still possible. Here I feel like there's too much water, so go ahead and do some lifting. Thing is when you use your brush and try it a little bit bigger tissue paper. The here I am using permanent agree. Born umber mixed on the colors. This is for adding a few details on our painting. I feel that it's true light down there, so I'm adding more shadows. Okay, so we're almost there. I think you're doing really well. Keep up the good work. Okay, so allies, there is all now it looks like the real coordinates. I'm just spreading the colors and adding more pigment as necessary. Now just let it dry and four final touch. Okay, and then cure. Really amazing. Thank you so much. Bye. 9. tomato: So we're almost finished with our Alphin paintings. Now will be painting tomato. We're going to need burnt umber, permanent green, Scarlett red, yellow, OHRP and Ivory Black. So this is wet and dry. I'm spreading the colors everywhere on our sketch. So where are you seeing light, pigment? There you go. So as you notice, I left some whites for our light. So the light effect is on the left, so it's lighter than the right side. Some spreading everywhere. This is Scarlet Thread K. So there you go. And defining the shapes, suggests of serve and follow. So now I'm gonna use, I'm gonna be using more pigment of Scarlet read eye will spread that everywhere on our tomato. With less water, decide. Yes, I'm trying to need the whites for our lights. I'm using the tip of my brush to have more pigment. Here. I'm trying to leave some white. So I'm still using the same brush. Here is not easy to leave some white suggests then the water will flow a little bit. Don't worry about it. It's loose watercolor. As long as you retain the shape of our tomato is going to be fine. Here I'm defining and tried to clean some edges. So now we're getting darker with darker tones. Um, you see born Amber shadow enrich pigment to trying to define the shapes you really have to make and the pigment very well to get that really rich color. Now I'm adding few details for our tomato. Now, I'm using permanent green with less pigment and leaving some whites. They just let the wonderful color flows just in case the mixed together. Here, I'm using darker values. This is born Amber. I'm gonna use it to define some details on our tomatoes. Is wet and wet and just observe and follow. And also they are best to leave those whites because you are using them as the light. And now this that easy to do, but it's still possible by using the tip of your watercolor brush. So as I said, the left side is the modalities. So the right side there'll be darker. Here. I'm still trying to define the shapes. Our tomatoes, tomato material go as spreading that dark pigment here. For our shadows. I might in permanent green again with rich pigment or our lift. So I would clean the brush and add Scarlett read everywhere. I feel like there's too much water, so I have to do some lifting. So therefore, drying my brush with a tissue paper. Here, I'm trying to define the shapes. Adding more born for our shadows. So this is lose water color and it's a bit challenging, but with them, with the right amount of practice determination, I think it's not impossible to achieve that lose water color effect scenario. Just observe and follow. So now right down there will be the shadow horizontally. So I'm just saying the clutter follow flows on its own freely. And I'll try to add darker values, which is the borne Amber. So yellow 4K is optional and you can add it after the painting or before to get that warmer color. Here, I've added for an amber and a little bit of ivory black for our details. Now, just let it dry for our final touch. I think he did very well and I really enjoyed this class with you. There you go, our tomato. Thank you so much. Bye. 10. Final touches of your project: So hello. Now, almost finish. Now we're just going to do some light touch. So I advise you use more pigment producing this. All are paintings have already dried and ready for the final touch. Now, there you go. So I'm basically just adding darker tones, darker colors, which is the phone number and just a little bit of ivory nor I am adding amber and some bright cred, Permanent red. Okay, so I'm desk doing some highlights and adding details. Here. I'm adding port number and the green color. Okay, so feel to add details as much as you want to. As low as three, retain the shape of our, of our major painting. It gets, if it will be really nice. Okay, so there you go. So just observe and follow. Okay, so there you go. That next will be the carrot. So here we're using the same color, permanent grid mix up with born Amber and I were in R k. So if you can see, I'm just adding highlights and details, imagining how the real Carol would look like. So now we'll be adding this final touches to our Apple. For number again, a little bit of ivory var. Here I'm adding shadows because I feel like I had to add more shadow. Now here I'm adding contrast and it's the same color ball number. And a little bit, I Bryn Mawr. And following the shaves and trying to correct it if needed. So there you go. I think we're almost ready with our apple. So I'm happy with the results. So I feel like I need to add a little bit of bread. So as I said, feel free to add as much as you like, as long as you have the correct shape. Okay. They go. Next will be the callee. So I feel Kelly is orally lose. But I'm just going to add more highlights. And that can add it's everywhere, just some few details. Let's it simple as that. Next will be our tomato. Okay, so Tomato, I'm going to add a bit more shadow and contrast. And here I am. You seem born Amber and a little bit of ivory in LA. So even if even I'm putting colors everywhere, I still had to pay attention not to touch our white because those whites are very important for lighting. Can suggest follow and some just observe and follow. A go. Sometimes less is more so. Feel free to stop whenever you feel like it's time to stop. We don't want to make it look, even wanted to retain that load effect. But at the same time, we want to add enough detail to make it look natural and realistic. Okay, we're done with our tomato. The last one will be that olives. So here I've makes the permanent agreed for number and a little bit of ivory are adding details. In some places that I feel I need to. Still trying to retain the white here, adding more details and contrast for our tonal values. Okay, so that's it. I think you did very, very well. Thank you so much for your patient San Diego. You can hang them on your walls. You get send their myself postcards. He can give it this again. So thank you so much. Bye.